Vanvaas Movie Review: Nana Patekar shines in an overstretched drama that struggles to deliver
Vanvaas Movie Review: Critics Rating: 2.5 stars, click to give your rating/review,The story—featuring themes of parental abandonment, dementia, and redemption through a ruffian with
Critic's Rating: 2.5/5
Story: An elderly father with dementia is abandoned by his sons on his birthday in Varanasi. He crosses paths with a small-time crook, profoundly transforming the crook's life and the lives of those around them.
Review: ‘Vanvaas’ marks a return to social dramas for director Anil Sharma, who began his career in the early 1980s with films like ‘Shradhanjali’and‘Bandhan Kuchchey Dhaagon Ke’tackling social issues of the time. After a long hiatus from the genre, Sharma revisits familiar territory with ‘Vanvaas,’ a film with a socially relevant theme and genuine intent. However, its 160-minute runtime and excessive melodrama dilute what could have been a sharp and impactful narrative. The story—featuring themes of parental abandonment, dementia, and redemption through a ruffian with a heart of gold—feels reminiscent of 80s staples, but lacks the freshness to elevate it. While ‘Vanvaas’ remains a relevant watch, tighter editing could have transformed it into a more engaging experience.
The story follows Deepak Tyagi (Nana Patekar), a retired man enjoying a quiet life with his three sons and their wives. Struggling with early-onset dementia, he often reminisces about his late wife, Vimala Tyagi (Khushboo), whom he deeply loved. His constant corrections and idealistic nature, however, frustrate his family. Tired of his behaviour, they devise a plan to celebrate his birthday in Varanasi and abandon him at an old age home. When asked for identity documents at the home, the family decides instead to leave him at one of the ghats. With no memory of his hometown or family, Deepak believes his sons—whom he remembers as children—are lost and begins a desperate search for them. Along the way, he encounters Veeru (Utkarsh Sharma), a small-time thief, and their unlikely friendship brings profound changes to Veeru and those around him.
This social drama captivates largely due to Nana Patekar's commanding performance. Portraying a retired man battling dementia, Patekar delivers a deeply impactful act, bringing authenticity and emotional depth to the trauma of being abandoned by his own sons. He dominates the screen, present in almost every scene, and fully embodies the character. Utkarsh Sharma as Veeru offers a sincere performance and shows steady improvement with each film, though his inconsistent Banarasi accent detracts from the authenticity. Simratt Kaur, as Meena, has a minimal role, while Rajpal Yadav and Ashwini Kalsekar provide solid support, doing justice to their parts.
‘Vanvaas’ addresses an important subject but leans heavily on a preachy tone to deliver its message. Nana Patekar’s dialogues, peppered with references to Karl Marx and BR Ambedkar, often veer into excessive moralizing, which can become tiresome. The film is laden with melodrama and feels overstretched, with average songs that fail to leave a mark. However, the cinematography by Kabir Lal beautifully captures the essence of Varanasi. The motivation behind the sons’ decision to abandon their father remains underexplored, leaving a gap in the narrative. While the helplessness of Patekar’s character stirs empathy and brings a lump to your throat, it falls short of delivering the emotional catharsis of films like ‘Baghban.’ Director Anil Sharma’s intentions are genuine, but the execution feels underwhelming, lacking the sharpness needed to truly resonate.
Review: ‘Vanvaas’ marks a return to social dramas for director Anil Sharma, who began his career in the early 1980s with films like ‘Shradhanjali’and‘Bandhan Kuchchey Dhaagon Ke’tackling social issues of the time. After a long hiatus from the genre, Sharma revisits familiar territory with ‘Vanvaas,’ a film with a socially relevant theme and genuine intent. However, its 160-minute runtime and excessive melodrama dilute what could have been a sharp and impactful narrative. The story—featuring themes of parental abandonment, dementia, and redemption through a ruffian with a heart of gold—feels reminiscent of 80s staples, but lacks the freshness to elevate it. While ‘Vanvaas’ remains a relevant watch, tighter editing could have transformed it into a more engaging experience.
The story follows Deepak Tyagi (Nana Patekar), a retired man enjoying a quiet life with his three sons and their wives. Struggling with early-onset dementia, he often reminisces about his late wife, Vimala Tyagi (Khushboo), whom he deeply loved. His constant corrections and idealistic nature, however, frustrate his family. Tired of his behaviour, they devise a plan to celebrate his birthday in Varanasi and abandon him at an old age home. When asked for identity documents at the home, the family decides instead to leave him at one of the ghats. With no memory of his hometown or family, Deepak believes his sons—whom he remembers as children—are lost and begins a desperate search for them. Along the way, he encounters Veeru (Utkarsh Sharma), a small-time thief, and their unlikely friendship brings profound changes to Veeru and those around him.
This social drama captivates largely due to Nana Patekar's commanding performance. Portraying a retired man battling dementia, Patekar delivers a deeply impactful act, bringing authenticity and emotional depth to the trauma of being abandoned by his own sons. He dominates the screen, present in almost every scene, and fully embodies the character. Utkarsh Sharma as Veeru offers a sincere performance and shows steady improvement with each film, though his inconsistent Banarasi accent detracts from the authenticity. Simratt Kaur, as Meena, has a minimal role, while Rajpal Yadav and Ashwini Kalsekar provide solid support, doing justice to their parts.
‘Vanvaas’ addresses an important subject but leans heavily on a preachy tone to deliver its message. Nana Patekar’s dialogues, peppered with references to Karl Marx and BR Ambedkar, often veer into excessive moralizing, which can become tiresome. The film is laden with melodrama and feels overstretched, with average songs that fail to leave a mark. However, the cinematography by Kabir Lal beautifully captures the essence of Varanasi. The motivation behind the sons’ decision to abandon their father remains underexplored, leaving a gap in the narrative. While the helplessness of Patekar’s character stirs empathy and brings a lump to your throat, it falls short of delivering the emotional catharsis of films like ‘Baghban.’ Director Anil Sharma’s intentions are genuine, but the execution feels underwhelming, lacking the sharpness needed to truly resonate.
